Theater review: 'Atoms, Motion and the Void' is stunning

Thursday

Jan 3, 2008 at 2:00 AM

When you find yourself calling storytellers, writers/poets, actors and lovers of literature and theater to urge them to see a new play, it's a good indicator that something mighty fine is afoot. Add to that the piece is only stronger with every passing day as you recall segments and you know you've seen something special. That's certainly the reaction to "Atoms, Motion and the Void" on stage at the Players' Ring.

Jeanné McCartin

When you find yourself calling storytellers, writers/poets, actors and lovers of literature and theater to urge them to see a new play, it's a good indicator that something mighty fine is afoot. Add to that the piece is only stronger with every passing day as you recall segments and you know you've seen something special. That's certainly the reaction to "Atoms, Motion and the Void" on stage at the Players' Ring.

This show is mind-boggling, simply boggling. Do not miss it.

The one-man show began life as a podcast recorded by its author Sean Hurley. The story goes, he asked John Herman, then a stranger, to listen to it and offer feedback. The original podcast, later rewritten for stage, ran for nearly 30 episodes. Herman was clearly impressed considering he is the staged version's director.

Hurley, a first-time, 30-something, actor is thoroughly convincing as the 79-year-old Sherman Sleeves. There's an authentic stance or place the character emanates from. Enhancing all of this is a truly gifted speaking voice, masterfully used.

Hurley's voice is a cross between Tom Waits, Redbone and black velvet. Wisely the director mic'ed the actor. It doesn't need the lift. But adding the microphone allows Hurley to use it like an instrument in an understated manner.

The voice is naturally imbued with a resonating quality and is simply beautiful to listen to. Marrying his sound to the script's often poetic words he quiets and builds for impact and on occasion to milk or give rhythm to "notes" in a line. He also actually sings.

This play is far from a musical, but "Atoms, Motion and the Void" does call for the old man to sit behind the piano and perform a piece; both composition and lyrics by Hurley. The change in texture enriches the one-man show.

As to what "Atoms" is about; that's harder to explain and is best sketched rather than detailed. Much of the play's interest lies in the odd, thoughtful piece unfolding. Basically it's Sleeves sharing his unordinary life in an intimate and unabashed manner. There is a powerful moment from childhood, a skip through much of the next 20-odd years till he is hired by a clandestine organization with the task of recording secrets. Eventually Sleeves undergoes a transformative process which offers, in its end-stage, a glimpse into the unknown. It's likely you've never seen anything like it. It's a stunner.

The story is told in a beautiful language. Hurley uses carefully chosen words to paint both the picture and the sense of the moment; mystery, power, shame or peace. He also makes you squirm at times, both for the character and yourself as he hits points of discomfort or fear. Above all he wraps you in beautiful language that brings a world vividly alive.

The visuals, costuming and set are also by Hurley. Incredible.

Herman's direction is just what it needs to be.

This is not a razzmatazz piece. It's arresting art, as another viewer put it. "Atoms" unfolds slowly and quietly, fascinating along the way. The author has the talent to write it, truly see it and then take it into the physical so we can all follow him into his vision. Go. Let this show wash over you.

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